John Gianvito schreibt richtig: "Obviously we know that there is no such thing as the ‘ten greatest films’, nor could anyone on the planet ever see more than a fraction of all the moving pictures generated to fairly pass judgement. What the game of lists affords is the opportunity to revisit and ruminate on those values one holds dear and to share one’s enthusiasms."
Hier also meine Sight + Sound-Liste in chronologischer Reihenfolge und mit kurzen Kommentaren:
M - EINE STADT SUCHT EINEN MÖRDER (GERMANY 1931)
Lang, a restless genre innovator, created not only the first serial killer thriller, but arguably the best. The script is torn between fantasy and research, but Lang is up to the challenge, the diverging elements merge in a productive, dialectical way. And of course: Peter Lorre rules.
TROUBLE IN PARADISE (USA 1932)
As Truffaut wrote so fittingly: "Dans le gruyère Lubitsch, chaque trou est génial" ("In the Lubitsch Swiss cheese, each hole winks"). For Lubitsch, cinema works like erotism: the fun for the spectator is to complete the picture. But despite the exquisite elegance of the mise-en-scène and the delightful treatment of dialogue: Lubitsch is very sober and realistic when it comes to human folly. You will not find a single scene in his impressive body of work glossing over the desperate underpinnings of human condition. He never is sentimental. Among Lubitsch's many great films, TROUBLE is my favorite because of it's one-of-a-kind balance between the most stylish movieland abstraction and sharp contemporary oberservation; it's perfectly cast and witty in every detail. One reason I am so much in love with the film might be the fact that my "territory" in films is quite far away.
GRAPES OF WRATH (USA 1939)
Ford at his most contemporary. He seems to be genuinely involved in GRAPES, reaching out, some scenes are open propaganda for Roosevelt's new deal - but of course with Ford even dust bowl is mythical territory. Henry Fonda is so pure it hurts.
LA REGLE DU JEU (FRANCE 1940)
Renoir's greatness seems more than with any other movie director I know of connected with his inner self. It's Renoir's own generousity that breathes through his films. Arguably, he is the most human of all filmmakers. RULES is the perfect example: it's a film where „everyone has their reasons”, including not only Ovtave (the character Renoir impersonates) but the filmmaker himself. Renoir's craft is uneven by design - it really is his handwriting.
OSSESSIONE (ITALY 1942)
Maybe the film I think of most often when it comes to questions of my own filmmaking. I admire Visconti's ability to bring the gods down to earth. Unlike the English tradition of "realist" cinema Visconti is not about small things – even a drifter in the Po valley faces destiny. Very daring: the way Visconti links heterosexuality to possession and homosexuality to the lack there of - both in a figurative and direct sense. I will never forget the first encounter between Gino and Giovanna, her imediate adoration for him: "You are built like a horse.”
L'ECLISSE (ITALY 1962)
Antonioni at his most precise. Film as a tool to register not only people but buildings, furniture, arbitrary things, time cristalls that reflect our life. The ending is the apothesis of modernist filmmaking!
ANDREY RUBLYOV (UDSSR 1966)
The biggest canvas painted by a truly personal filmmaker. The bell episode is a shattering, fantastically realized metaphor for artistic expression. A miracle of filmmaking, unthinkable in cinema today.
THE GODFATHER (USA 1972)
A film about family, disguised as a Gangster picture. A constant inspiration.
WILD AT HEART (USA 1990)
Arguably the most American of all filmmakers, Lynch is a poet of violence and artifice, embracing the beauty of strange. WILD is his "personal journey through american movies", a dark ride into the night. The single most important contemporary film for me.
TROPICAL MALADY (THAILAND 2004)
A proposal for a tender cinema, enchanting and modest.
Hier sind 19 Alternativen: